Hu Ge has been cast as the lead in A Gathering at Southern Railway Station 南方车站聚会 (lit.), the latest project from art film director Diao Yinan (Black Coal, Thin Ice). The movie will revolve around the redemption of a thief (Hu Ge) who is wrongly accused of a crime, and his attempts to escape prosecution before finally deciding to surrender himself to the authorities.
Gwei Lun-mei plays the protagonist’s girlfriend, and Liao Fan and Wan Qian round out the main quartet.
It would be wise to just watch for the pretty, because there is basically no content in these clips.
In other news, Hu Ge still hasn’t locked down his new project, while Zhou Xun and Chen Kun (who now co-own a talent management company) have been busy establishing an acting academy with director-producer Chen Kuo-fu (The Message).
Hu Ge’s most anticipated drama since the end of Nirvana in Fire in 2015, Game of Huntingfollows protagonist Zheng Qiudong’s journey from an idealistic entrepreneur to a skilled headhunter.
However, the path is far from smooth – his business fails after Bai Liqin’s (Zu Feng) death, and the teaser suggests he also spends time in prison after being betrayed by girlfriend (Jian Renzi). Thankfully Qiudong befriends wise inmate Liu Liangti (cameo by Sun Honglei), who points him in the right direction after he is released. The 45 episode drama begins airing tonight.
Drama opening theme (I’m intrigued by all the symbolism):
Hu Ge’s new drama Game of Hunting 猎场 (previously translated as Hunting Ground) is finally going to see the light of day after a lengthy legal dispute between the production company and broadcasters Hunan TV and LeTV, and has released an official trailer ahead of its premiere in the third quarter of the year.
Hu Ge’s first semester of study has ended, and he’s returned to Shanghai to film a new mobile phone ad, and attend a Piagetevent. In my opinion, his interviews are always more fun than the magazine spreads. Photos by Wei Lai.
Please excuse me as I take a trip down memory lane…
The Golden Eagle Awards is a prestigious biannual television awards ceremony, and prides itself on being “the people’s award”. Unlike the Flying Apsaras Awards (government recognition) and Magnolia Awards (industry recognition), Golden Eagle spreads the love more evenly, and usually several dramas and actors are acknowledged.
In previous years, the Best Actor and Actress of the night were decided by online voters and a panel of judges, and presented with the Audience’s Choice award (golden statue) and Best Performing Arts award (crystal statue). This year the two awards were given to different actors, with the nominee that received the most votes from the judges winning the Performing Arts award.
Hu Ge finally returns to the silver screen after four years (two if his brief cameo in Just Another Margin is included).
I didn’t watch Go! Goal! Fighting! 旋风十一人 when it aired in April, so it’s been over a year since I last saw Hu Ge onscreen. Thankfully the drought is about to end with his appearance in new mystery film Cherry Returns那年夏天你去了哪里.
The Magnolia Awards is held in conjunction with the Shanghai Television Festival, home to one of East Asia’s biggest television markets. Magnolia Awards is recognised as one of the most prestigious television awards alongside the Golden Eagle and Flying Apsaras, though it cannot seem to make up its mind on the number of categories (the current format began last year).
Full list of nominees, winners and red carpet pictures are below the cut.
This is part of a series of posts that still overly obsessed yours truly is going to write on the Disguiser, aka my favorite Chinese drama in the past five years.
In Chinese, a common word for country is literally translated as nation-home. It’s only fitting then that the painting by Ming Cheng and Ming Lou is named Home, for it captures the two major themes of The Disguiser– family and country. It’s one of many examples of how the series by scriptwriter Zhang Yong and director Li Xue is a rare Asian drama that actually tries to uses dramatic principles like symbolism and foreshadowing and Chekhov’s gun.
The scene of the painting of Home seemed like just another day of Lou-Cheng cuteness at the time, but it actually set the stage for two major plot points and became a reoccurring symbol.
“If Mr. Ming knew, he would skin me.” Oh, he knows.
“Dear brother, then let us enter Inferno together.” – Ming Lou, Paris 1939, Until We meet Again
This is a plug for one of my favorite novels I’ve read last year,Until We Meet Again/Jusqu’a ce qu’on se revoit/别日何易by mockmockmock. Romance, humor, history, culture, and philosophy are blended flawlessly in this travelogue across Europe and China. The reader follows The Disguiser‘s Ming Lou and Ming Cheng on a journey of self-discovery in mostly the lead-up to the drama. Even if you, like me, haven’t read fanfic since 2010 , I highly recommend it.
The story begins in Vienna on Easter 1933. In true spy style, the Mings meet in front of a painting at a museum. Ming Lou had just finished chatting about Keynes and ism’s. Ming Cheng had just returned from military academy in Leningrad. They eat cake, listen to opera, exchange intelligence, and brush hands. The joys of reunion cannot hide whispers of the recent election in Germany.
They celebrate Christmas with a jovial Seville family, but do not miss the underlying tensions of the impending Spanish Civil War. They share their first kiss by the Neva river, but the beating of their hearts cannot quieten Ming Cheng’s questions about his friends’ mysterious disappearances. They shower in the British rain and sing on Qinhuai River, but always in the back of their minds is the war brewing both around them and back home in China. Continue reading →